Media produced in an intentionally old-fashioned style, designed with the intentional appearance of being decades older than is actually the case.

Whereas steampunk involves a setting that is faux-retro, this trope is entirely one of how the medium is painted— entirely stylistic, in other words. Sound is intentionally scratchy, marks of damaged reel, and faded appearance are common in Film or television. Some films go out of their ways to open with studio vanity plates pulled directly from the era that they depict (See Logo Joke for that).

In video games, retraux is common in freeware and indie projects for practical reasons — pixelated sprites and chiptunes are a lot simpler to make than quality 3D assets and orchestral studio recordings. Another emerging artform is the Video Game Demake, in which a game is adapted for an earlier-generation platform.

Compare Genre Throwback, where a production is made evoking old-style works but with modern production values (in contrast, something that's Retraux can be mistaken for an actual old-style production). Can overlap with Newer Than They Think when done especially well. See also Retraux Flashback when this is combined with an Art Shift in an otherwise more modern looking work.

Examples:

A commercial for Stella Artois purports to be footage of the 1964 World Trade Fair. It's got a film grain aesthetic, jazzy Sixties music, period costumes, and as an added bonus, they invoke TONS of early-Sixties Zeerust.

Commercials for Dr. Pepper 10 include a mountain man character shot with blurry film stock and outdated music meant to evoke the old Grizzly Adams television show and similar nature-themed shows of the era.

American Pickers did a commercial entirely in 8-bit NES style. Considering the premise of the show, it's quite fitting. Interestingly, the music seems to use the extra channels of the Konami VRC6 chip with Sunsoft's trademark DPCM bass.

Interestingly enough, according to Word of God, despite its 1970s-esque appearance, it was actually made in the 2090s, which means it's an example of this even in-story.

GaoGaiGar has an art style rather reminiscent of giant robot anime from the 1970s.

Sayonara, Zetsubou-Sensei, especially the opening. Lampshaded in the episode about Detuning (doing less than your best): Among the examples for detuning is "Deliberately adding imperfections to give the impression of an old film." followed by a cue card saying "This show does it too".

The ADV Films trailer for Chrono Crusade has narration mimicking the style of voice-over used on old-fashioned newsreels. (However, the anime itself doesn't use many Retraux effects outside of a few scenes in the opening and the grainy episode title cards and eyecatches.)

Cowboy Bebop intentionally uses a drawing style and character design reminiscent of anime from the 1970s, despite being made in 1998. One DVD release for the show also has the DVDs looking like LPs; the DVD covers emulated packaging for jazz albums of the 1950s with a single dominant color on the front and a text-heavy back cover.

In Lucky Star, Meito Anisawa and the other Animate store employees are drawn in a style reminiscent of anime (especially Super Robot anime) that's some decades older than Lucky Star. There's even a visual effect that makes their shaded areas be of non-uniform color tone and change their color tone slightly over time, simulating the look of cel animation.

That's because the Animate employees were around long before the Lucky Star manga was even created, plus they were designed by G Gundam character designer, Kazuhiko Shimamoto

Many of the Gundam works set in the Universal Century deliberately try to maintain an consistent art style reminiscent of the 1980s, right down to the '80s Hair. If you look closely, you'd notice that the characters of Gundam Unicorn wouldn't look out of place in Zeta Gundam.

The 2004 version of Tetsujin 28 deliberately captures the aesthetics and atmosphere of 1950s Japan, right down to the soundtrack.

In 2012, Bandai recreated and updated their Emotion division's first logo (an '80s logo, mind you) for modern audiences, complete with a recreation of the logo's jingle.

The anime adaptation of Monogatari Second Season, features the Kogarashi Sentiment OP , part of which is drawn in the style of 90s shows and juxtaposed with a more modern style. Bonus points: it features a tacky duet by Senjoughara and Kaiki, the latter of whom is terribly out of tune.

Kill la Kill's art style is evocative of older anime despite airing from late 2013 to early 2014.

Same with the Ninja Slayer ONA, using Limited Animation techinqiues that ran rampant during 80's and 90's anime as well as being in Square Standard Defination. rather than in HD Widescreen.

Comic Books

It's not unknown for a flashback or 'never before told' story to be drawn in the style of a certain time period. An excellent example is The Age of the Sentry miniseries, whose titular hero was supposedly Marvel's SupermanExpy in the 1960s, but was forgotten by all of humanity until his "return" in 2000. The flashback scenes are drawn to resemble 1960s Jack Kirby and 1980s Frank Miller. The front cover even has a fake "Approved by the Cosmic Code Authority" logo.

The Avengers #1 1/2 resembles an issue from the 60's, and parodies some of the ads.

Iron Man and Doctor Doom once travelled back in time to a New York City circa the Silver Age (thirty years earlier in real time, perhaps ten or twelve in terms of Earth-616 chronology). The art was drawn and colored to resemble the comic book art of that period.

Marvel's Flashback event has covers somewhat resembling older covers in terms of style and layout, but still has plenty of 90's influence.

DC Comics Retroactive event features covers and stories set in different comic eras.

The 25th anniversary (1983) Legion of Super-Heroes story had multiple segments that took place in pastiches of different parts of the Legion's history, using the original logos, original artists, and plot elements based on stories of the time. A weaker version of this was done for the 30th anniversary in 1988.

The humorous one-shot Superman/Batman: World's Funnest featured the two magical imps Mr. Mxyzptlk and Bat-Mite accidentally destroying countless alternate universes, most of them drawn in the style of a certain artist—Curt Swan, Sheldon Mayer, C. C. Beck, Jack Kirby, Alex Ross, Bruce Timm and so on.

The Orson Randall one shot issues of Immortal Iron Fist are often drawn in the style of pulp era artists.

A mild example in Ultimate Spider-Man: Requiem where in a flashback, the art goes back to Bagley's style, rather than the current penciller for the series, Immonen.

A Stormwatch issue concentrating on the history of century-old Jenny Sparks depicts her in each decade as she would have appeared in the comics of the time, with the 80s flashback in particular being a clear homage to Watchmen.

Another one from Alan Moore, Supreme has flashbacks with an art style that corresponds with the time those flashbacks happened. This is justified in-story; from Supreme's perspective, his recollections of (for example) Golden Age events have such a simple, rough style to them because it was such a long time ago and everything seemed so simple back then.

Another flashback example, 2000 AD Prog 2010 features a Judge Dredd story that starts on Christmas Eve 2098 (the first published Judge Dredd story takes place in 2099), which is presented in the style of an early 2000AD strip complete with black and white art and yellowing pages. The second half of the story takes place in the "present day" of Christmas Eve 2131, and switches over to a modern style colour strip.

Whatever Happened to the World of Tomorrow? by Brian Files is about a boy who is a fan of the Comic Within A Comic Space Age Adventures featuring Captain Crater And The Cosmic Kid. Four different issues of the comic (spanning the 1930s to 1970s) are presented in the book, each printed on newsprint (as opposed to the thick glossy paper of the rest of the book) and drawn to resemble comics from the appropriate era including imitation poor colour registration and printing blemishes.

Alias by Brian Michael Bendis features a flashback to Jessica Jones attending the same school as Spider-Man, drawn in a style reminiscent of Steve Ditko era Spider-Man. Jessica's early superhero days as Jewel get 80s-like artwork in addition to old school credits ("Bashful Brian Bendis", "Magnificent Mike Gaydos", "Marvelous Mark Bagley").

Also by Brian M. Bendis, the Golden AgeDaredevil features 3 periods of time : the 40s, the 60s and modern day, each drawn in styles reminiscent of what was found in comic books of respective eras. The Retraux is especially noticeable in the colours.

As Deadpool features a lot of both meta-commentary and time travel, this tends to come up in his book. The best example is when he gets set into the past to Amazing Spiderman #47, and infiltrates himself into the story, Forrest Gump style.note Deadpool vol 3 #11 All the panels and dialogue are drawn in John Romita's style, and all the characters (except Deadpool and friends) talk like Stan Lee wrote them. (Indeed, enough panels are lifted from the original work that Romita and Lee are credited as co-authors.) Seeing the modern Meta Guy Deadpool interact with the comics-code Spiderman story is a Crowning Moment of Funny.

In case you're wondering why specifically Spider-Man, it's because Deadpool's costume bears no small resemblance to that of the ol' Webhead, meaning it was a snap to redraw Spidey as 'Pool.

Deadpool vol 5 #7 (from the Duggan and Posehn run) is supposedly an inventory story from 1979, crossing Deadpool (who, of course, didn't exist at the time to write inventory stories about) into the Iron Man "Demon in a Bottle" storyline, with 70s Spidey and the Power Pack also making appearances. The art and writing style both reflect this, and it even has oversaturated Bronze Age colouring. Later issues in that run follow on from this, having Deadpool show up in what are claimed to be inventory stories from other eras, with the writing and art in the style of those periods. Including one from Deadpool's actual early days, with a Rob Liefeld in-joke as the characters have everything possible hiding their feet.

John Byrne's untitled story from Batman Black And White: Volume Two is drawn in the style of a Golden AgeBatman comic and is written accordingly as well. Batman and Robin smile throughout the story, deliver wisecracks and best the villains via a clever scheme.

Batman Black & White: Volume Three has the story "Urban Renewal"; it features some nostalgic flashbacks by characters to the "old days", and the flashbacks are drawn in the Golden Age style as opposed to the more realistic present-day scenes.

Batman #600 has three "lost inventory stories" that aren't: a Golden Age time-travel tale in the style of Finger and Sprang; a late Silver Age Batgirl and Robin story in the style of Carmine Infantino; and a groovy seventies parody that could have appeared in Plop! or MAD, which is actually by Sergio Aragonés.

One sequence in The Incredible Hercules features Herc hallucinating that he's reliving previous adventures due to being poisoned. When action is presented from his view, the comic suddenly appears to shift to a seventies artstyle and coloring. They even pan from Black Widow's modern look to her look from when she was on the Defenders with Hercules to emphasize it.

Viz does this a lot, notably with the strip Jack Black, which is a parody of wartime comics and books such as The Famous Five series. The occasional one off strip drawn by the same artist will often involve surreal stories. Some 'news' articles are done in the same manner.

The The Transformers: Robots in Disguise 2012 Annual issue has flashback segments of Nova Prime and his inner circle done up in the style of the old 80s Marvel Transformers comics, including pages that have been made to look yellow with age, and glorious, page-long infodumps where each character takes the time to explain who they are in great detail just as characters being introduced in the old comics had a tendency to do (to encourage their readers to go buy their toys.

Wonder Woman Vol 2 #200 has two back up stories in the style of Golden Age and Silver Age comics. The Golden Age one in particular is a very close parody, with the Holiday Girls, the Kangas, a robot duplicate and spanking ... except that the villain is a version of the Greg Rucka-created Veronica Cale.

In episode 35, a Clip Show, Yami asks Kaiba if he remembers the time the two of them first met, which is shown as 'a time when the video quality wasn't very good, and the audio was all muffled and scratchy'. Clips from the first episode are used in black and white, with a fake moustache and monicle painted onto Kaiba, and a 'silent movie' motif with old-style dialogue printed on the screen and an upbeat piano theme.

One of the DVD bonus features is an "authorized adaptation" of a Mr. Incredible adventure, in the form of a cheaply-animated and simple-minded old kiddie cartoon with considerable "aged recording" noise. (The cartoon can also be viewed with Mr. Incredible and Frozone chiming in their comments, MST3K-style.)

The 1930s style song "The Spirit of Adventure" over Up's closing credits is in lo-fi monophonic sound.

The ending credits of The Tigger Movie run against sepia still images of scenes from the film redrawn in the style of E.H. Shepherd's line drawings from the books. Tigger in particular looks completely different from the Disney version.

Wreck-It Ralph pays homage to vintage video-game styles with its protagonist being the villain in an 8-bit style game modeled after Donkey Kong. The closing credits play with this further, notably when Ralph and Vanellope help demolish the car in the Street Fighter II bonus level. The end also invokes this trope, after the "Wreck-it Ralph" game becomes more popular than ever with the inclusion of a "Q-Bert" bonus round.

Woody Allen's Zelig is a Mockumentary about a "chameleon man" of the 1920s and '30s. The supposedly archived footage of the era was actually filmed using cameras and such of the period. This, in addition to Forrest Gump style editing (though this movie predated that one by over ten years), created a nearly impenetrable illusion.

Far From Heaven, set in The Fifties, imitates the look of movies produced back then, specifically Douglas Sirk's movies - the plot is almost lifted from All That Heaven Allows. The score is by Elmer Bernstein, who composed music for several famous films in the '50s.

The French musical 8 Women. The look of the film evokes the look of films made in the 1950s, and the songs are all performed in a 1950s style, despite some of them being from as late as the '80s.

Orson Welles used this trope in Citizen Kane with the newsreel in the beginning, going so far as to use sandpaper on the original print to make it look old and worn.

Mirage is a 1965 movie filmed in black and white and in the style of classic noir.

The Westlake Film Company has one silent movie comedy in their arsenal. To: Steve, From: The Devil was even shot with that kind of camera used long ago, along with the same good old improvised piano music, which makes Painting the Medium successful in this case.

The Turkish movie GORA has a brief flashback scene to the early 1900s, shot in the scratchy, silent, black-and-white footage of the first 'moving pictures'.

The Mexican (2001) had the flashbacks filmed in a hand-cranked camera to evoke this trope.

Down with Love is an Affectionate Parody of a certain subgenre of early-1960s romantic comedies, filmed with more than a few Retraux touches. It's particularly noticeable in the set design and background music.

The Mel Brooks film Silent Movie is filmed in color and includes a music track that's part of the film (rather than separate — but this was common in the last years of the silent era). Nonetheless, it was done in the style of...a silent movie, with actors "speaking" their lines, followed by a dialogue card: something that's partially parodied throughout the movie.

The Mel Brooks remake of To Be or Not to Be features a montage of World War II footage of Poland being attacked, in the style of the newsreels of the time. The montage ends with main characters appearing in the same gritty black and white style.

For Back to the Future: The Ride, the short "Doc on the March" was done in the style of an old newsreel, with Doc inserted into various footage Forrest Gump style. See him get an autograph from Thomas Edison! Watch him get a photo of The Beatles! Witness him resisting the urge to bump off Richard Nixon!

The Bayeux Tapestry-esque opening of Bedknobs and Broomsticks, complete with the film's Nazi invasion depicted in Medieval tapestry style

Kung Pow! Enter the Fist used old footage from an actual Hong Kong martial arts flick that was worn, so most of the new parts edited into the movie were artificially worn to match the rest of the film.

The film uses Schizo Tech to enhance it's atmosphere; the 1930s Art Deco Outfit building along with the aforementioned telephones clash with cars which are mostly from the 70s. The blue-grey color filter was removed in the Director's Cut.

The House of the Devil is an homage to 1970s horror films, from the setting to the credits to the music. It's even being released on VHS.

Iron Man 2 features the song "Make Way For Tomorrow Today" over the end credits, performed by the Stark Expo Singers. The theme song for Stark Expo '74, it sounds a lot like various songs from Disney movies and theme parks, most notably "There's a Great Big Beautiful Tomorrow," the theme to the Carousel of Progress attraction. This is no accident. The Stark Expo theme was written by Richard Sherman, who wrote that and many other memorable songs as a Disney employee. An expanded version of the song also appears in Captain America: The First Avenger (composed by Alan Silvestri instead of John Debney).

The Moulin Rouge! commentary track mentions how much trouble they went through to put imperfections in the film in order to evoke this.

The 1977 war film The Ascent is made up to look like a film from the 1940s, with its World War II setting, uses of Academy ratio (an aspect ratio long disused by then) and black and white cinematography.

Apollo 18, in keeping with its Blair Witch-esque premise, is entirely portrayed as found footage from a 1970s space mission, with all the accompanying film grain and video artifacts.

Black Dynamite is a movie from the late 2000s that's made to look like the cheaply made blaxplotation films of the 70s, with grainy quality, obviously bad effects, and choppy editing.

The Bloody Hilarious short film Forklift Driver Klaus was shot in 2000 but not only did it use costumes and props from the 1980s, it was also shot on VHS and looks like it had been copied several times before being digitized.

In The Great Race, the credits are rendered in the period-appropriate style of a Magic Lantern show.

"Ladies, kindly remove your hats."

In Godzilla (2014), scenes taking place in The Fifties are edited to look as if they were shot on film stock of the era. The cinematographer even used a camera lens not used since The '60s.

In keeping with Peter Jackson's striving for an accurate portrayal of early 1950s Christchurch, New Zealand in Heavenly Creatures, the title cards are done in an early '50s style, with the actors' first names in Italics and last names in CAPITALS. The font is period as well.

Everything in X-Men: First Class, has very '60s/'70s sensibilities, from Emma Frost's Bond Girl costumes to the BBC science documentary-like credits sequence.

In X-Men: Days of Future Past, the 1973 Sentinels are clearly based on their Silver Age comic inspirations. In sharp contrast, however, the 2023 Sentinels look more alien than robot.

The WNUF Halloween Special is a Found Footage horror film painstakingly made to resemble an actual 1987 small town TV station news broadcast, including cheesy fake low budget commercials. To make it look authentic, the director even went as far as shooting the film digitally, transferring it into VHS and copying it to other tapes five times, in order to achieve the proper degradation that a 1987 recording would suffer.

In particular, one reviewer noted that Zeman's The Deadly Invention isn't just set in a charmingly Steam Punk 19th-century world; it looks and sounds as if it had actually been made within that world. Along the same lines, another reviewer said something to the effect that, while it's normally easy to guess what decade a film was made in, it's well nigh impossible to say even which century this one is from.

The 2003 remake of The Music Man uses acting and dialogue styles from the mid-20th century, as well as a slight sepia tint, soft focus on certain shots, and somewhat degraded audio. One scene in a bar even has people drinking just water and milk. The only signs that it was made in the 21st-century are the higher visual quality, the extensive racial integration of the town (and of some romances in the background), and one scene in which the mayor writes with his left hand, which would've been incredibly unlikely when the movie is set.

1989 short film The Lunch Date is shot in black-and-white, with a rather old-timey classical music score and an old-style font for the opening title card.

Interesting quasi-example in The Limey: Terence Stamp plays an aging gangster, and the film occasionally shows flashback clips of him as a young man in the 1960s. These sequences have the look and quality of a film from that era—because they are from that era. Specifically, they're clips from the 1967 film Poor Cow, one of Stamp's early films. It's a recycling of an existing film, rather than filming a sequence specifically for the film that attempts to replicate the era, in order to produce a retraux feel.

The model shots in the 2014 film Space Station 76 look exactly like 1970s model shots. You can even see the strings! Likewise, the sets are designed with all the limitations seen in actual science fiction of the period.

The Onion Presents: Our Dumb Century "reprinted" the front pages of dozens of issues of The Onion, going back to the early 1900s. (In reality, The Onion was founded in 1988.)

S. was deliberately planned to look and feel like a book written and printed in the 1950's. The cover has woodblock print letters and graphic, there's a library sticker on the spine as well as a library "borrowed/returned" stamp in the back (with numerous dates of having been "borrowed"), and all the pages have yellowing and foxing to them. The story itself is written in a faux-translated from German mystery, with decidedly dated word usage and structure.

Cold Case flashbacks are filmed to evoke the period they are from (e.g. black and white for times that predate colour film).

In addition, the flashback sequences often feature popular music that likely would have been featured in a TV show episode from whatever year the flashback would have taken place in.

Occasionally, Cold Case will feature original music with the style of the episode's time period. For instance, the song "Scarlet Rose" from Season 4's "Static" sounds exactly like a ballad from the late 1950's.

Garth Marenghis Darkplace genuinely looks like some low-budget sci-fi/horror show from the 1980s, despite having actually been made in 2004. One episode includes the original song "One Track Lover," which is the style of a cheesy pop song from The '80s.

Same for Look Around You, which mimics 1980s educational TV despite being made in 2002 (for the first series) and 2005 (for the second).

And in turn, The Peter Serafinowicz Show, from the creator of Look Around You, has featured faux 1970s public information films (complete of course with authentic faded colour, grain and scratches).

One episode of Ashes to Ashes does this for the Show Within a Show, being shot on 1980s style video with very limited lighting and makeup, scratchy sound and cheesy backing music. (link - could arguably be a minor spoiler).

Speaking of which, its parent show Life on Mars revelled in this trope for advertising, even going as far as having a recreation of the BBC 1 Colour ident of the 70s precede broadcasting of the second series. The American version did the same with the ABC logo.

Harry Enfield did this a lot in his sketch shows, especially with the Cholmondley-Warner & Grayson sketches on Harry Enfield and Chums. His later series Harry and Paul featured Retraux versions of modern films, such as a 1930s melodramatic version of The Bourne Identity and a silent version of Brokeback Mountain starring Laurel and Hardy.

Star Trek loves to use the holodeck for this kind of thing. Jean-Luc Picard's noir adventures as detective Dixon Hill were a fan favourite (and won the show an Emmy for costume design), as were Tom Paris'sBuck Rogers-style Captain Proton stories, which were actually filmed in black and white; and Deep Space Nine's forays into fictional nightclub crooner Vic Fontaine's club.

Special mention must be given to the Deep Space Nine episode "Trials and Tribble-ations", which features time travel back to the era of TOS. In addition to inserting Deep Space Nine actors into existing footage, new scenes aboard the old Enterprise and the space station were filmed using 1960s-style lighting - they even used 1960s film stock because the colour saturation properties were different.

Jimmy McDonald's Canada was a parody of current events shows from The '60s, filmed in black and white, and occasionally stopping to advertise cigarettes. Richard Waugh, who played Jimmy, somehow managed to convey "The '60s" in his very speaking voice.

Mad Men on AMC is supposed to be set in the early 60s, and is filmed with a dark, slightly fuzzy/grainy look to it. This is in keeping with the show's obsessive focus on setting — the furniture is all vintage, along with the clothing. Even to the point of making the actors wear authentic undergarments that are never seen.

Firefly was deliberately filmed with old camera lenses to give it that authentic 70sWestern feel.

We occasionally see clips of Larry's shows from the five years prior to the start of the series. Not a terribly long time compared to most examples of this trope, but the producers take care to make these clips look different from Larry's "current" shows.

Larry's talk show is, itself, rather Retraux. Like Johnny Carson, Larry does a lot of big, broad sketches where Larry and Hank wear elaborate and silly costumes. This style of comedy sketch became more or less extinct in late night after Carson's retirement, however. Characters occasionally remark In-Universe that none of the other talk shows do this sort of thing anymore.

Late Night with Jimmy Fallon's annual Video Game Week features opening credits with visuals and music straight out of 8-bit Nintendo games of The '80s, including direct visual references to Mega Man 2 and Ninja Gaiden.

Top Gear did a 1970s style intro for a fake detective series, The Interceptors, complete with era-appropriate Porn Staches.

They also applied a very convincing early-1980s videotape look to parts of the "Which Eastern Bloc car was worst" sequence.

Danger 5 deliberately looks like a low-budget 60s action flick. An action comedy about a team, Danger 5, fighting Stupid Jetpack Hitler in a 60s Alternate History, it also includes RetrauxToku action, in which Hitler gains command of mechanically enhanced Japanese supersoldiers. Season 2 upgrades to The '80s, with associated look.

Glee'sShow Within a Show during the third season's Christmas Episode was deliberately filmed in black and white, and invoked the feel of holiday variety shows from the 50s to the 70s, albeit with a little tongue-in-cheek humor about the whole thing.

A Spitting Image sketch claimed to be celebrating the show's 100th anniversary, and showed a clip from the supposed first show in the 1880s. This was a black and white scene of two Punch and Judy style puppets, and silent movie captions reading "I say, Mr Gladstone! You're not very good!"

Hustle. An exposition scene explaining how an old-style con worked was done in the form of a black & white silent movie.

In both ''The Two Doctors'' and the show's 50th anniversary special, ''The Day of the Doctor'', the first few seconds were in black and white, with the latter also featuring the original title sequence from the mid '60s.

In "Time Crash" starring the Fifth and Tenth Doctors, the background music used in the Fifth Doctor's era is heavily featured throughout.

The "Day of the Daleks: Special Edition" DVD release has a brand-new version of the "only three Daleks" onslaught, new voices by Dalek aficionado Nicholas Briggs, and new CGI sequences. An unbelievable amount of care was taken to ensure that nothing would look out of place within the 1973 milieu: the Dalek voices were re-created with older, analog equipment (also, Briggs uses a slightly less-deranged voice set than he does on the New Series); the new film sequences were done with a period BBC film camera; and the CGI was made to look a little more like a model set.

Stranger Things enjoys this trope, befitting its Eighties setting. The opening titles have burn-in, film specks, and slight flickering, making them look like the opening titles to a show from the Eighties. In addition, the show's electronic background music deliberately sounds like something that John Carpenter might have done back then.

Pinballs

WhizBang Pinball's Whoa Nellie! Big Juicy Melons was made by cannibalizing parts from a 1957 electro-mechanical pinball, then using the components in an all-new playfield design with original art and modern imaging techniques. The result is a boutique pinball table that plays like it stepped out of The Fifties but with a modern look.

Capcom's Breakshot is a Shout-Out to '70s electro-mechanical pinball machines, with a single-level playfield and simpler rules. The score is even shown as a digital copy of old-fashioned scoring reels, and the game includes digitized musical chimes.

The upcoming The Big Lebowski pinball has an LCD screen, but simulates a DMD like most pinball machines since The '90s have used.

Print Media

Time magazine published a special Bicentennial "July 8, 1776" edition in 1976. The entire issue is written as if Time had actually existed in 1776, with all its usual sections (with a few obvious exceptions like Film and Television.) It apparently sold well, and was followed by a "1789" edition covering the first inauguration of George Washington.

More recently, Time has tried to revive its pre-1990s letterhead (the word "TIME" in bright red letters in a smaller font and dead in the center of the top third of the magazine). Really, the only difference now is that the letters aren't outlined in white or yellow.

Doctor Who Magazine's 50th aniversary issue included an insert which imagined what DWM would have looked like in 1964, celebrating a whole year of Doctor Who (DWM actually started in 1979). Highlights included "Galactic Guardian" (because it couldn't have been called Gallifrey Guardian before 1973) and a review of the first Novelization, Doctor Who in an Exciting Adventure with the Daleks, which was incandescent about the fact They Changed It, Now It Sucks — while being somewhat vague as to what had actually happened in the TV story, because it was a year ago and there wasn't any way of seeing it again.

Pro Wrestling

The short-lived Wrestling Society X was home to Matt Classic, a wrestler who had been in a coma since the '50s, and wrestled in the same style that won him the World Heavyweight Championship in 1952 — including such devastating moves as the head vice, the abdominal stretch, and the airplane spin. Matt Classic was portrayed by Colt Cabana, who was in his mid-20s at the time.

WWE decided to do an "old school" night on Raw in November of 2010. They threw up a classic looking WWF set and ramp, swapped out the barriers with old-fashioned rails, and even used a retro-styled WWE logo (though this has actually appeared on a few John Cena promotional items in the past). They even had Michael Cole dress up as an old-school Vince McMahon, since Vince was on commentary duty during the era the show was representing.

They did this again in 2013, with Michael Cole having to wear that horrible mustard-coloured jacket, although the WWF logo was notably absent, in favour of the block W.

The 2008 Royal Rumble was, to a lesser extent, also done in a retro style. Not only did it take place in Madison Square Garden (where professional wrestling in the U.S. actually began), but it was introduced by classic announcer Michael Buffer, was shot on slightly fast-stock photography, and used close-ups and multiple cameras sparingly - all to capture a pre-Hogan '80s look.

Sports

An alternate term for Retreaux in sports uniforms is "fauxback", in reference to throwback uniforms; if a design is meant to emulate a specific historical uniform, it's a "throwback", but if it's a new design meant to look old (particularly if the team itself isn't that old to begin with), it's a "fauxback".

The granddaddy of the fauxback is the set of uniforms worn by the Chicago White Sox from 1976 through 1981. Eccentric owner Bill Veeck wanted a retro look for his team, so he clad them in collared pullovers inspired by their earliest days (except the collars stopped at the shoulder seams). The cap, bearing the team's then-brand-new "SOX" wordmark, didn't quite fit the retro look, though.

Also in 1976, several MLB teams adopted the old-style "pillbox" caps to celebrate the centennial of the National League. Most teams reverted to the modern style after a single season, but the Pittsburgh Pirates kept the pillbox caps for ten years.

The National Hockey League created Retraux alternate jerseys, especially among teams too new to have large amounts of history to tap into. Many of the teams that have participated in the annual Winter Classic outdoor game have used one-off fauxbacks, which occasionally get promoted to a full-time alternate jersey.

A trend in the NHL (and throughout North American hockey) is to include a cream (off-white) color usually called either "vintage white" or "antique white" to approximate the natural discoloring of an eighty-year-old wool sweater. The first instance in the NHL was with the Minnesota Wild's introduction of their third jersey, and the All-Star Game jerseys from that year (which they hosted), all in a fauxback style, though the off-white was part of Minnesota's official color scheme (called "Minnesota wheat" by the team). The NHL has since only used "antique white" on designs not of genuine NHL vintage, instead using them for mash-ups, original designs, and uniforms throwing back to, or inspired by, non-NHL teams (such as the Calgary Flames' Heritage Classic homage to the Calgary Tigers, or the Vancouver Canucks' Millionaires uniforms).

The Australian Football League's "heritage round" has teams wear old-style versions of their guernseys. Hawthorn fans seemed to particularly like their heritage strip, and there is a push for the team to change back to it permanently. Turned well and truly Up to Eleven in 1996 where the AFL turned the clock back a hundred years to when it began, bringing out vintage cars, styles of dress and radio to celebrate.

The throwback jerseys worn by the NBA's Golden State Warriors and Philadelphia 76ers were such a hit with fans that the two teams changed their logos permanently.

The Washington Wizards eventually changed to the classic red, white and blue striped uniforms and colors of the Washington Bullets... albeit while keeping the Wizards name and logo (in red, white and blue as well).

The Tampa Bay Rays, who entered MLB as the Devil Rays in 1998, introduced uniforms in 2012 that are meant to show how the team might have looked if they existed in 1978. They cribbed heavily from the San Diego Padres of that era with contrasting raglan sleeves, front cap panel, and even the way the team name is styled on the front of the jersey.

NFL teams are allowed to wear throwbacks twice a year. Of note were the Green Bay Packers 1929 throwbacks with brown helmets to stand in for leather.

Many American historical reenactors organize vintage base ball teams and play matches against each other. All of the equipment and uniforms are reproductions, and actual 19th century rules are used.

Indycar and NASCAR cars are sometimes painted in retro paint schemes for one-off races. Sometimes for nostalgia's sake, or to celebrate a milestone, but usually to sell more diecast models. Usually this involves putting an older corporate logo on the car too. Seems to be particularly prevalent among drink manufacturers; Budweiser, Coke, Pepsi, Miller, Coors etc have all done it.

Each team in the Australian Football League has its own team song, usually drawing the music from a range of old sources (ranging from music hall, marches, a couple of otherwise unknown works, and even La Marseilles) and writing new lyrics about the team, but the newest teams have had songs written for them, some of which have aged terribly (the West Coast Eagles' song just sounds like an Eighties power ballad). The exception is the Greater Western Sydney Giants, who have got a club song written by Harry Angus, which is decidedly oompah to hit the century-old feel of every other team song.

"Labyrinth Lord" is a Retraux as well — this time much closer to the original version of Dungeons & Dragons

As well as "Swords and Wizardry," which draws on Sword and Sorcery as opposed to Labyrinth Lord's High Fantasy and which also takes out the Thief, leaving us with the Fighting Man, the Magic User and the Cleric of original D&D.

There are a fair number of other retroclones out there, including OSRIC and Basic Fantasy for 1e. In addition, the makers of "Labyrinth Lord" also made "Mutant Future," which is a close-as-you-can-get-it remake of Gamma World using the Labyrinth Lord rules.

Also, Encounter Critical, deliberately designed to look like a mid-70s D&D-knockoff made by a pair of sci-fi fans.

Magic: The Gathering's Coldsnap set was designed in the style of the Ice Age and Alliances sets from a decade earlier, most blatantly the use of "slowtrips," the clunky, slow version of cantrips that hadn't been used since less than a year after Alliances.

And cumulative upkeep. Don't forget that.

The joke set Unhinged, the nostalgia set Time Spiral, and the online-only reprint sets all bring back retired frame designs to evoke this trope.

Goodman Games used the slogan "Third Edition Rules, First Edition Feel" for their Dungeons & Dragons 3E products. They intentionally copied the style of D&D 1E to appeal to fans of that game who never converted to 2E or 3E.

Necromancer Games has a similar design philosophy. Their best-known Sourcebook, Tome of Horrors, consists largely of 1E monsters that Wizards of the Coast wasn't using and let them publish. Complete with high-contrast pen-and-ink black and white illustrations.

He also did an 8-bit themed issue of his show Fedor Comix Draws. It can be seen right here.

Then there's this video stylized as a VHS recording of a Soviet propaganda video, complete with Kraftwerk-esque tune (it should be noted that Enjoykin (or Enjoyker), the composer, is a fan of this trope as well).

The back cover of the first The Order of the Stick prequel book describes the deliberate choice of greyscale as "Past-O-Vision". The use of crayons to illustrate the "dawn of time" backstories also invokes this trope.

The Jet Dream comics (and sister titles It's Cookie! and My Jet Dream Romance) are presented as if they were actual comic books published in the late '60s and early '70s by an obscure publisher obsessed with male-to-female sex changes.

Evidence in Jet Dream letter columns and other material suggests that the publisher believed in mass-scale wholesome crossdressing by boys to prepare for humanity's future as a One-Gender Race. The wholesome, hoped-to-be Code approved Jet Dream comics were only one of his business ventures aimed at cashing in on a "Fem Is In!" movement that... never quite developed.

Unicorn Jelly looks like something drawn in a 16-bit MS-DOS paint program, and with good reason: it was drawn in a 16-bit MS-DOS paint program.

"Ask That Guy VIOLATES Ma-Ti is done in the style of a silent film, complete with the text screens after the dialogue and black-and-white footage. The illusion is broken at the end after Ma-Ti takes down Ask That Guy and reprimands the viewer for being sick enough to want to watch the titular act depicted.

This fake trailer depicts what Zelda would have been like as a John Hughes-esque Eighties teen movie. Bonus points for including period music, an Orion Pictures logo and VHS artifacts; if you ignore the obvious parody bits, you could easily mistake it for an actual '80s trailer from an old videocassette.

One of the more unnerving "photos" of Slender Man is designed◊ to look like it was taken in the early Nineties. Details of note include a date watermark and added graininess, the latter of which is more pronounced due to the camera distortions that always pop up when Slendy is around.

The Onion published a book called "Our Dumb Century" featuring fake front pages of the paper throughout the 20th century starting in 1900.

For April Fools' Day 2011, YouTube added a button that would turn the video you're watching into sepia tones, add jittering and scan lines, and replace the audio with jazz music. Its featured video that day was of a few of its most famous videos redone in this style.

Even more brilliantly: if you were watching a video that used YouTube's subtitle functionality, the text would appear as intertitles as in a silent film.

Red vs. Blue does this when Church is sent back in time. They use an earlier Bungie game, Marathon, in place of the more modern Halo engine for all the footage in that time period.

Also, there's the dramatic lens flare that show up in CGI episodes in Season 9.

The internet once claimed that Orson Welles had made a movie adaptation of Batman; although it was revealed to be an April Fool's joke perpetrated by Ain't It Cool News and Comics Should Be Good, but that didn't stop someone from making a rather believable two part trailerof the non-existent movie.

YouTube channel My Life in Gaming offers occasional "How to Beat" videos for contemporary video games done in the style of old game tips VHS tapes. In addition to using dated video effects and deliberately making the image look like VHS video (complete with tracking errors), the narration will frequently invoke Critical Research Failure in incidents both minor (such as mispronouncing in-game terms) and major (as seen in their Super Mario 3D World video that claims the game to be a set in SubCon).

The Venture Bros. The creators admit a genuine love of fake-aging footage and such, and went through great lengths to get the Season 2 DVD to appear to be (but not actually be) worn and decades old, as if it had been in the trunk of somebody's car for 30 years. And the menu screens are done in the style of an old, old slide-show presentation of what people in The '60s thought the future would be like. The third season was all shot in high definition in order to make the footage quirkier and grainier, not sharper or more vector-ey.

And the third-season DVD is presented in the style of an Atari 2600 game, down to the packaging and Pitfall-style menu screens.

In "How I Wet Your Mother", Bart Simpson's dream is animated in the same style as the Simpsons shorts from the Tracey Ullman Show of the late 80s.

In "All About Lisa", The Krustketeers sing the Krusty Klub Theme, shown in black and white.

In "Teenage Mutant Milk-caused Hurdles", The "La-Z Rider Couch Gag" is a throwback to a more serious 80's animation style, with an overlay effect representing visible tracking lines from the worn and dirty video heads of a VHS player.

In fitting with the Animaniacs' backstory as characters locked away since the early days of animation, occasionally a "lost Warner Bros. short" was aired that was done deliberately in the style of WB's original Bosko and Honey cartoons.

Additionally, one episode featured clips of the Warners guest-starring on such old cartoons as Calhoon Capybara, Oohooroo, Where Are You, and Obese Orson. For the clips, the producers carefully made sure the animators replicated the low-budget feel of the cartoons parodized.

There were a couple of Scooby-Doo made-for-video movies in 2002-2003, Scooby-Doo and the Legend of the Vampire and Scooby-Doo and the Monster of Mexico, that were deliberately done in a retro 1970s-esque style to resemble the old Scooby-Doo, Where Are You! cartoon series (something that What's New, Scooby-Doo? and the other made-for-video movies generally avoided), even going as far as bringing back the original voice actresses for Daphne and Velma (as Frank Welker was already Fred and Scooby-Doo's main voice actor, and Casey Kasem was still available to voice Shaggy any time he was needed), using synth/keyboard remakes of the classic Scooby-Doo background music, featuring many of the old Hanna-Barbera sound effects and even putting the gang in their classic 1970s outfits and designing them in the same manner.

In Scooby-Doo and the Cyber Chase, the gang is sucked into a video game about their adventures. In the final level they meet themselves (or rather, their video game doubles), who are drawn in the older style.

The 2010-era direct-to-DVD films use a style heavily inspired by the original series. For example, Daphne has Skintone Sclerae.

A short on one of the VeggieTales videos, Going Up, is portrayed like a silent film... even though it still uses computer animation and is in color. The trope is played straighter in an alternate "unrestored" version, seen in the Bonus Features for its video (Sumo of the Opera), featuring it in Black and White, with film grain and damage. On the audio front, it lacks any and all sound effects, as well as the French Peas reading out the text cards in the normal version.

The Tinpo shorts on CBS' Kewlopolis block (which can also be seen online) use 8-bit style music (although one can also hear actual modern electric guitars on the soundtracks as well).

The music, incidentally, is by a band named Anamanaguchi, whose members actually write music using an NES music tracker and play the resulting code on an actual NES, with electric guitars to accompany it. It's awesome stuff.

This inane little romp into the imagination of Raymond Persi and Matthew Nastuk was made for the 1999 Vancouver Animation Festival. It was done 100% using nothing but what was available for animation in the early 30's, right down to the painted backgrounds and the grooving.

The 2013 Mickey Mouse short Get a Horse! (playing before Frozen in theatres) was painstakingly created to look and sound like a late 1920s/early 1930s cartoon, including film scratches, cel mistakes, and poor quality soundtrack - even going as far to include archived clips of Walt Disney as Mickey's voice. That is, before the cinema screen is ripped open, hand-drawn and CG animation come together and the fourth wall is not so much broken as it is shattered into a billion pieces.

Xyler and Craz are semi-recurring characters from a Show Within a Show called Dream Boy High, which are sometimes seen in Mabel's imagination. Both it and their character designs have the blocky lines and garish color palette of an 80s cartoon like Jem.

"Fight Fighters" features Rumble McSkirmish, a video game character from the eponymous fighting game, appearing in the real world. Rumble is styled after Ken, Ryu, and Sagat from Street Fighter II and rendered completely in 16-bit style graphics (by Paul Robertson, of course), complete with badly translated dialogue ("WINNERS DON'T LOSE!" "YOU CAN HIDE BUT YOU CANNOT HIDE!") and even physical limitations such as not being able to look up or stand still. The game is quite old even in-universe: the arcade cabinet is covered in dust and was made before the fall of the Soviet Union.

"Soos and the Real Girl" features another old game, Romance Academy 7, a PC Dating Sim similar to Tokimeki Memorial, apparently from the 1990s. Like Fight Fighters, it has sprite-animation by Paul Robertson and was poorly translated. However, its main character, Giffany, is smart enough to have learned proper English.

In My Little Pony: Friendship Is Magic, Pinkie Pie's rap song in "Testing, Testing, 1, 2, 3" is clearly styled after a rap music video from the late-80s or early-90s, complete with looking like it was ripped from a VHS recording (fake scan lines, semi-blurry image quality, and the scene is presented in a 4:3 aspect ratio instead of the show's usual 16:9 widescreen). Crosses into Stylistic Suck as the song itself feels more like a parody of cartoons from that era that liked to include rap music in an attempt to be Totally Radical.

The Mater's Tall Tales short "Time Travel Mater", has various old-time to represent the different periods where Mater and Lightning travel to. The film is sepia-toned when Mater meets Stanley, black-and-white when they go to when Stanley met Lizzie and then to two-strip Technicolor when they see Stanley and Lizzie get married.

Relentlessly mocked multiple times in The Grim Adventures of Billy & Mandy. Examples include Wiggy Jiggy Jed from "Dream Mutt", a walking pastiche parody of snarky, fourth-wall breaking Hanna-Barbera characters complete with his own theme tune when he walks and cuing laughter from a live audience and the episode "Hill Billy" where the entire world becomes a Golden Age Of Animation cartoon.

Many attractions at various Disney Theme Parks are painstakingly worked on to appear genuinely ancient or old. Like the Tower of Terror.

The entire point of theme park Silver Dollar City (near Branson, MO) is that it's supposed to be a mining town in the 1880-1900 time frame. One which happens to be paved almost entirely in asphalt, mind you, but the buildings are designed to appear rustic, weathered, and slapped together from available materials. In the shops and restaurants, they've even gone to the extent of building enclosures to hide the modern electronic cash registers, with only the electronic readout showing from the customer-facing side.

Consumer-level video editing programs such as iMovie and Windows Movie Maker have their share of effects that make things look brown ("Sepia"), old (old reel marks), or even very old (choppy action and faded borders). Of course, these are abused by amateur video makers.

Effects like those are even built into some camcorders; Sony's Digital-8 decks are a good example, as are some flash and DVD-based cameras. Needless to say, people who do serious video work tend to recommend not using them under any circumstances and doing all that sort of thing in postproduction.

Ditto for digital cameras, that very often include options to take pictures in sepia and/or in black-and-white.

"Vintage" T-shirts for sale at retail stores. Brand new shirts deliberately faded and cracked to look like they're 30 years old. Pre-ripped jeans also count.

Certain slot machines (mainly those manufactured by IGT) are still being made with mechanical reels and levers to pull, even though they're all run by computers now and these are no longer required. Many people prefer these for a more authentic experience. Even in Minnesota, where mechanical reels are not allowed, the video versions of these same games are still built with levers. Sadly, machines that dispense payout in coins/tokens (instead of tickets) are much rarer, if not extinct.

Computers and laptops built with false-wooden frames, buttons and similar accessories are fairly popular among various groups, particularly steampunk.

Along those lines is a remake of the Commodore 64. It has the same shell but with modern hardware and operating system. But it also includes a Commodore 64 emulator for the full experience.

Various architectural styles like Neoclassicism or Gothic Revival. Amusingly, the latter was a reaction to the former: Neoclassicism was seen as "Enlightenment" and "liberal" (in the old sense), so Romantics and (old-sense) conservatives invented their own revival to counter it, drawing Romanticism Versus Enlightenment into the field of architecture in the ugliest (except for the buildings, all of which were beautiful) possible way. The debate didn't end until the Bauhaus-educated German Modernists, driven from Nazi Germany for being "degenerate" (or worse, Jewish) came out of nowhere to destroy them both. (The Soviet Vkhutemas was doing much the same thing, but since they were Dirty Communists they were ignored in the West).

Many alleys of Budapest's Inner City were redesigned to look 19th century, complete with lamp posts that look like gas lanterns.

The goal of the Margaret Bridge's reconstruction was explicitly to restore the bridge to its 1936 design.

Reliced musical instruments. Fender is particularly guilty of releasing guitars and basses that are purposely beaten and aged in the factory that look like they have 50 years worth of abuse on them. This is also the entire business model of Nash guitars, which are really beat up Fender copies for about twice the price of new Fenders. Needless to say there is quite a bit of contention amongst guitarists as to whether this is an affordable alternative to vintage instruments that can run up to $70,000 a piece or if they are bought by posers who want their guitars to look worn without actually putting the work into having a guitar get that beat up through touring and playing constantly.

There's also another aspect to this. From the 50s to the 70s all instruments used nitrocellulose lacquer, but as it was rather hazardous, polyurethane is the standard finish today. Nitro is very "fragile" and easily comes off and ages very nicely (fading, yellowing and so on). This is why real vintage guitars have a special sort of relic to them. Polyester on the other hand is very hard and thick, has no real aging and hardly ever comes off, which makes getting a played in feeling with many modern guitars is close to impossible. It's thick and goopy and dampens the sound, but protects the instrument and offers a wider selection of colors. Polyurethane is somewhere between nitro and polyester — only a little bit thicker than nitro so it doesn't kill your harmonics, but with durability and color choices comparable to polyester. It still doesn't age quite the same, and opinions vary as to whether that's good or bad. Still, it's generally considered an acceptable compromise.

On the subject of musical instruments, there's also been a movement in classical music called "historical performance practice" which is exactly what it sounds like - to use certain styles of instruments and vocal techniques to perform early music works as they would have sounded at the time of their premieres. When instrumentalists aren't playing on actual older instruments (like those of the various Cremona violin makers in the 17th century), they build new ones with the style and sound of older ones.

Doritos re-released three chip flavors (Taco, Sour Cream & Onion, and Salsa Rio) that they discontinued in the 1970s or 80s in 2012, and put them in bags made to look like the bag design from that era as well. In Canada, they reissued the discontinued Ketchup flavor for a while in early 2015.

The car industry has many examples of faux-retro models.

Chevrolet Camaro

Dodge Challenger

Fiat New 500

Ford Mustang

New Mini

Nissan 350Z/370Z

Nissan Figaro

Plymouth Prowler

VW New Beetle

Citroen C3 (although this one is not an upmarket design model).

Daihatsu Sirion

Chrysler PT Cruiser

Chevrolet HHR

Part of Harley-Davidson's appeal is in motorcycles that resemble those from the old days, particularly those from the Fourties and Fifties, but with modern conveniences added such as the softail rear suspension made to look like the rigid frames of yore. Add to the fact that the engines used on Big Twins aren't really that far removed from the original Knucklehead of 1936; the Twin Cam is an all-new design, but it's still conceptually similar.

Though more subtle than most, there has traditionally been a lot of demand for "film look" coming from digital video cameras, to the point of making things like 24p frame rates standard even on relatively low-end camcorders. The adoption of DSLR cameras like the Canon 5DmkII specifically aimed to duplicate the depth-of-field effects film cameras traditionally give by using standard interchangeable lenses and large image sensors; the jury is still out as to whether "film look" has been truly achieved for The Rest of Us, or if its proponents have created a new, unique DSLR look.

Pepsi and Mountain Dew Throwback use cane sugar instead of the high-fructose corn syrup found in modern soft drinks (in countries where the latter has replaced sugar). They also feature vintage brand logos on the packaging.

The Seattle Space Needle celebrated its fiftieth anniversary in 2012. As part of the celebration, the whole thing was painted the "only in the 60's" shade of "Galaxy Gold" paint that it was during the 1962 World's Fair.

In the 1990s, McDonald's built several locations in the style of their earliest restaurants. Many of these had only walk-up service, just like the earliest ones.

Verbatim produces blank "Vinyl" CD's, that look like CD-sized vinyl records. The packaging encourages customers to put their old music on the CD's for a classic feel.

A few years ago a bunch of breakfast cereals, such as Frosted Flakes and Lucky Charms, went retro by selling them in their much older box designs.

The art of Randy Regier consists of authentically crafted vintage/Atomic Age toys, complete with the occasional aging, packaging, printed media and shopfront setups, that range from high quality (i.e. "The ToyGantic" and "Go Fast Daddy-0"), to intentionally shoddy (i.e. the John Manshaft line and "Electric Man Waiting for a Train Set") and absurd (i.e. the "Blazing Sun Model" and "Tardy the Manpony").

It's fairly common in Indonesian to intentionally write using the spelling pre-EYD to give an old, Dutch-occupation era feel (even though the EYD was released in 1972, more than 20 years after the Dutch surrendered). For example, the Dutch restaurant specializing in Indonesian cuisine called "Tempo Doeloe" (roughly translated to "past" or "the good old days") — the proper spelling is actually "Tempo Dulu".

There seem to be literally dozens of applications for adding a rotary phone dial to a smartphone.

8mm is a app that simulates Super 8 8mm analog home movie effects for use on iPhone camera videos. Celebrities such as Hilary Duff and Selena Gomez have (according to Word of God) used it for effect on Instagram videos.

Many airlines have at least one plane in their fleet painted in a retro livery. Either one from the airline, or from an airline that has been amalgamated into the current brand that the airline owns the rights to. American Airlines for example has several planes in their 1960s livery, US Air has liveries from Pacific Southwest Air (PSA), Allegheny and Piedmont (all defunct), and British Airways has painted one plane in 1970s livery with plain "British" logo on the fuselage.

A number of toy and model kit manufacturers over the years have released older items in current packaging, designed to remind one of the old packaging. Hot Wheels Redliners are still available in some places, Matchbox once released a series of diecasts in modern blister packaging but with a little box similar to their oldest form of packaging included, and Round 2 Models, who own a few of the older brand names of model kits known to older Americans, often use the original box art for kits first released in the 1960s, unless there are legal issues to work around (such as losing the licence for The Munsters while still being allowed to sell the kits of the cars). One problem with that is that the kits haven't been re-tooled since they first came out, such that the tooling is as old as the hills. Another example is the reproduction lithographed tinplate toys currently being released solely for the collector's market.

You can still have a house built in older styles from the 19th century onwards; Queenslanders, for example, are still being built, albeit with current materials and techniques, and are available in many styles echoing the older styles, including Victorian, Federation, Edwardian, and Ashgrovian (a 20th-century style adapted from American California bungalows.)

Gentrification or renovation of large urban areas can lead to large-scale renewal of some of the oldest parts of a city, as the place is done up to attract people with fresh paint, unbroken windows, and verandahs and awnings overhanging the footpath that no longer look like they're going to collapse on top of you when you walk under them, and to celebrate the history of the area. Some of these can go a bit far in their presentation, as they are given extra atmosphere by means some might consider an excessive amount of faux-historical packaging, such as FlindersStreet East (second picture sepiatoned in GiMP) in Townsville, Queensland; the road is designed to make horse-like clopping sounds when cars are driven along the street.

The British electronics store Maplin is selling a reproduction ZXSpectrum, with in-built bluetooth 3.0 and HDMI television compatibility. It looks exactly the same as the original 48K version.

Many old towns in Europe where either entirely leveled or significantly damaged by bombings in World War II. While some were redesigned in the then modern "car friendly" style (now widely decried as an abomination against urbanism), some were then or have been since rebuilt in the original style, more or less faithfully. One of the best known is probably the Frauenkirche in Dresden that was rebuilt faithfully except for the weird placement of the original stones (distinguished by their blackened appearance which is neither due to fire nor due to pollution but owed to age) - in 2005. However, infill development in those neighborhoods is also often also built "in the original style" which may or may not work, but is often vastly preferred to some "hyper modern" glass palace in the midst of buildings centuries old.

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